Tag Archives: MustSee

The Farewell

[4.5 stars]

The Farewell has been quietly saying, “Hello” to cinemas around the country, expanding each week to new audiences. It’s a greeting you should answer. Lulu Wang has created a deceptively simple film that is wonderfully honest, funny, and complex while remaining delightfully entertaining. From the opening moment of the film, you know that is going to be something a little bit different.

Awkwafina (Ocean’s 8) lands a great performance of a young woman finding herself and navigating a family crisis. And Wang helps her navigate it wonderfully and shed her typically over-broad delivery. The rest of the cast is solid, including Tzi Ma, Diana Lin, and, as the beloved Nai Nai, Shuzhen Zhao. Lin and Zhao, in particular may end up in conversations come awards time along with Awkwafina and Wang. And this film should be in that conversation.

But even if I’m wrong on the awards front, and it gets forgotten or snubbed, you should make time for this unexpected treat. It certainly touches on strong emotions, but its overall impact is a positive one; its messages (however you interpret them) and moments sticking with you long after the credits have faded.

Yesterday

[5 stars]

Yesterday delivers one of the best films of the summer so far. It embraces the kind of sweet magic that Mamma Mia delivered (if not its sequel), but with a more adult and wry edge. It is funny, romantic, honest, and not a little subversive in its way, offered up with care and love by two of the best story tellers out there behind the camera: director Danny Boyle (Trainspotting 2) and writer Richard Curtis (About Time).

Boyle (Trainspotting 2) is one of the most diverse directors out there, often slipping between genre without missing a step (Sunshine aside). And with Curtis (About Time) laying the trail, the two take us on a journey that is both nostalgic, current, and toe-tappingly hypnotic.

Himesh Patel, basically an unknown in the US though a constant on Eastenders for 11 years, carries this story solidly. Opposite him, Lily James (Mama Mia! Here We Go Again) is the sweet embodiment of missed chances. There are a slew of other players, too many to mention, but Joel Fry (Requiem) and Kate McKinnon (Leap!) are among them. And watch for several credited and uncredited appearances throughout the film, most notably one by Robert Carlyle (Trainspotting 2).

As a side note, I have to say that McKinnon surprised me. While talented, she usually goes way to far with her comedy, destroying reality for the laugh. Boyle kept her very restrained, making it one of her best and most believable performances…edgy and out there, but within the bounds of the story till near the end.

This is must see film for the summer for anyone who enjoys music, comedy, and romance… and it’s the cure for CGI and action-laden madness that crowds the screen through the hot months. That kind of film can certainly be fun, but Yesterday proves it isn’t the only reason to catch a film on the big screen. And, for all its silly fantasy and sweet romance, there is a point to Yesterday. It starts to crystallize near the end, with a hint in the credits if you miss it. Honestly, it turns the whole idea on its head and gives you one last smile as you leave the theater. But even if that slips by, the journey and the resolution are worth your time. Don’t miss this one.

Years and Years

[4.5 stars]

Years and Years embraces the aphorism: The journey of 1000 miles begins with a single step. And quite the journey it is, from the smallest to the largest step along the road of choices that marks out this slippery narrative.

Russell T. Davies (A Very English Scandal, Bob & Rose) offers up a far spanning look at current politics, all lensed through the very human and personal eyes of a single family. We follow them across a decade as they deal with the fallout and shifting landscape of a world in transition. It is often difficult to watch, especially the time period closest to our own, but it is also hypnotic and gripping. As it moves forward a hundred steps, and then a thousand steps, the world is completely unrecognizable and yet utterly familiar and undeniable. It often isn’t easy seeing how people act and react, but we’ve millennia of proof that we are seeing typical responses.

Though the story is bleak at times, it also celebrates the resilience of people. Survival is key: financial, emotional, physical, and even intellectual. Because that is how it works, the world goes nuts and people do what they must to survive. It is rare that a single event is “the end of it all.” But, of course, as things move on, that is always the risk.

The cast are very much up to the task of bringing this story to life; a bevy of recognizable faces, young and old. Some of the more stand-out performances are Anne Reid (Last Tango in Halifax ), Russell Tovey  (queers. ), Emma Thompson (Men in Black: International), T’Nia Miller (Marcella ), Jessica Hynes (Bridget Jones’s Baby), and Rory Kinnear (Spectre). But, honestly, it is really quite the cast all around, even Lydia West in her first major role shines nicely.

Years and Years is a visceral response by a writer to the world; when good writers get mad they get writing. When they are also artists, they give us timeless classics like The Crucible. Years and Years is likewise a reaction to today’s political insanity and, if not quite as timeless as Miller’s play, it is certainly powerful and impactful. This is a must-see piece of television that will transport you to the very last moments of the series. It won’t satisfy everyone as the ending does leave some things open, but life is rarely fully satisfying…it simply keeps on keeping on. And as long as we can do that, we survive.

Avengers: Endgame

[5 stars]

Who would have thought, watching that first tag at the end of Iron Man 11 years and 22 films ago, that today we’d be here? Talk about delayed gratification.

I didn’t rewatch all the films again, but I did rewatch all of Phase 3 in prep. Still an amazing trip. Thor is certainly the odd one out in flavor and Black Panther is still not my favorite (though its resonance has changed for me again in the last year with our own political mess), but as a whole the sequence continues the huge landscape and story. It has to be said, though he left after Age of Ultron, the success and structure of this audacious and incredible ride owes a huge amount to Joss Whedon’s grand vision of architecture.

And that is where this movie shines. Christopher Markus
and Stephen McFeely, writers of the entire Captain America sequence and Infinity War, landed this saga beautifully. It is a tight three acts loaded with humor and drama, and the biggest sequences since The Hobbit or Dunkirk in terms of battles. The Russos did a great job directing it all, never losing the pacing nor the sensibility of the characters. I can’t recall the last time an audience had so much spontaneous applause and tears.

Despite being over three hours, the movie doesn’t feel long at all. Every character gets their moments and resolutions and nothing is easy. And even the forced moments work because you want them to be there. Markus and McFeely also, almost, manage to get out of it all without a paradox, gap, or gaff. Just don’t pick at it too much, there was no way to avoid some of the issues they ran into. If there is any real ding on Endgame as a film, it is that it doesn’t and can’t stand on its own. Without the lead up (forgetting even the Infinity War cliffhanger) it would be obvious something is going on, but not what. That isn’t a bad thing for a finale, it just is being honest.

Anticipation couldn’t have been much higher for this movie, which concludes the emotional and character arc of Phase 3 of the MCU for so many characters and marks a change in direction for the stories. What that change will be remains to be seen in the official end to the Phase in Spider-Man: Far From Home. It has been floated that the overarching stories aren’t going to continue, though some characters are getting series on Disney+. I have to say, I am worried that they cannot sustain the franchise with that approach and thinking. It shows a lack of comprehension of what made the last 11 years one of the grandest adventures and experiments in movies.

I did see Endgame in IMAX 3D for this first go-round. It was worth it. The story is huge and gorgeously shot. The 3D is subtle rather than cheap most of the time. Most of the f/x are seamless, though some of the Hulk’s moments are a little threadbare. But definitely the way to go with this movie, at least once. Now, get yourself out there and see it before you get the story spoiled. You’ll only get to experience it once without knowledge, enjoy the surprises. And while there are video tags during the credits, there is an audio tag that is causing much discussion and little confirmation as to the meaning.

Golem

[4.5 stars]

Not long ago, the 1927 Theatre Company recorded and aired their brilliant new take on the Golem tale. It is an astounding piece of stage craft that incorporates live talent and animation with a bit of music and movement thrown in. The story, in this conception, is about the control of media and commerce over humanity. The troop tell the story in a closed loop, spinning around the story of Robert, played  engagingly, and with spare irony, by Philippa Hambly.

Along with four other on-stage performers (Dunne Genevieve, Nathan Gregory, Rowena Lennon, and Felicity Sparks), the troop begin a story that you think you know, but which turns on you even as it makes your eyes and brain dance. The duality of what is happening on stage and how they are keeping you entranced is no accident. It is mesmerizing and pointed.

I have no idea if this will ever stream again or if it will be available on disc, but make time for it if you get the opportunity. Honestly, there are few stage productions that can really blow me away. This one had my jaw dropping constantly at the illusion, the humor, and the message. It’s not perfect, but it is darned close, and it is worth every minute you get to spend with it…and sadly that is ephemeral.

Roma

[4.5 stars]

This is one of the most affecting portrayals of real life I’ve seen. It is heartwarming and heartbreaking, occasionally terrifying and always engaging. It’s filmed with an ease and relaxed eye that provides a moving window on the action without ever letting you get too comfortable with that view. In some ways it evokes the Italian classic The Tree of Wooden Clogs, but with a more complete story to share. 

A lot of the success of the film is down to newcomer Yalitza Aparicio, who is the center of it all. It is a great entree into film for her. She is engaging and honest on screen, full of depths that are sometimes stirred, but often left to build up with sediment that we watch rain down on her. Our view of her life is uncompromising, but her openness is disturbingly inviting to us as voyeurs. 

Roma is unique in a lot of ways. As primarily a streaming movie from a major director it raised eyebrows (and a lot of awards). As a black & white presentation in a high-def-color world, it forces a sense of nostalgia and provides a gorgeous pallet. As a moment in history, regarding immigration and inequality, it is timely. And, as a piece of film, it is nearly the complete vision of a single man. Alfonso Cuarón (Gravity) was director, writer, cinematographer, and editor as well as producer on Roma. It makes this film a wonderfully personal and whole concept. It allowed Cuarón to take his time setting scenes and telling the story exactly as he intended without someone else’s filter being layered on. Of course, as a single vision, it is a tiny bit bloated and could probably have been trimmed ever so slightly. But it only shaves a tiny bit off the perfection of its final form. 

If you can see this on one of the rare big screen showings, make the time. It is beautiful visually. However, it still works on a reasonably sized television as well. But no matter how you see it, make time for this film. It will slowly enfold you in its arms before battering you around a bit; but it is full of hope as well as tragedy. It is, above all, human. 

Vice

[4 stars]

Hilarious. Nauseating. Angering. Unreal. Adam McKay’s (The Big Short) depiction and investigation into the life of Dick Cheney is full of energy and, from the outset, honest about where he stands on the subject.

Christian Bale (Out of the Furnace) delivers an astounding performance as Cheney. To say he disappears into the role is an understatement. It is creepy, it is so believable. By his side, Amy Adams (Nocturnal Animals) does an equally chilling turn as his wife, Lynne. Even while humanizing them, they are unabashedly power hungry, walking evil. Not that I or McKay have an opinion on the matter.

There are some rather good bit performances as well. Sam Rockwell’s (Woman Walks Ahead) George W. Bush grew on me as he played it out. LisaGay Hamilton (Take Shelter) as Condoleezza Rice was quietly magnetic and Shea Whigham (First Man) was decidedly vile. I do have to say that I didn’t find Steve Carrell’s (Welcome to Marwen) Rumsfeld very solid, which was disappointing. It eventually got there, but there was something off in his presence and I couldn’t ever quite see the real man.

One performance being utterly missed, because it is so invisible in many ways, is Jesse Plemons (Game Night). His role is somewhat thankless, but he is the engine that keeps it all humming along. It is a solid definition of supporting actor and worth mentioning.

There is no question this movie has an agenda, as I’ve mentioned. It is as accurate as possible (and it becomes clear why that is only “as possible”), but the overall tone is clear. And do stick through the first two sections of credits, and look carefully, to get McKay’s final points.

I’m not sure if this is an empowering film or simply a warning. Frankly, I had difficultly making it through as it isn’t what one could call hopeful. However, it is a strong reminder of why we have to stay involved in the process and think for ourselves. Democracy, like marriage, is work. Stop putting in the effort, stop asking questions, and stop holding people accountable and you only have yourself to blame for the results.

But, as a film, it is entertaining. Just go in with a deep breath and stay calm or you’ll find yourself tied in knots by the end.

Black Mirror: Bandersnatch

[5 stars]

For anyone who thought Netflix was just an aggregator or simple studio, think again. They just created a whole new set of goal posts for the competition and for mass entertainment.

OK, I’ll admit, my rating is high here, in part, because of the technology and novelty of the piece, but Avatar got that kind of reaction as well, and let’s face it, that script and story were appallingly bad.  But Bandersnatch has a good script, is very clever and fun…and I can’t wait to watch it again. My first time through, even with multiple loop-backs, I hit a 90min version, which is likely close to the happy path, even though that wasn’t my intention.

Fionn Whitehead (queers.) drives the movie with a bit more excess energy than is probably needed, but it is certainly consistent. As his father, BBC serial standard Craig Parkinson (Line of Duty) gets to ride a roller-coaster of a part, much depending on your selections moment to moment. Similarly, Alice Lowe (Sherlock) gets to have some fun as Whitehead’s therapist. But those two stabilizing beams in the story aside, a real special mention has to go to Will Poulter (The Little Stranger), who completely transformed himself for his role; he wears the accent and British intellectual toff rather well.

Of course this twisted piece of mental suspense came from the mind of the Charlie Brooker, creator and writer of the Black Mirror series. Brooker always puts technology at the center of his stories, though what makes them work is how the characters respond to that tech. Making tech part of the experience now is just a natural evolution of his approach. Director David Slade (HannibalAmerican Gods) took Brooker’s vision, and its many branches, to create a series of paths and endings that all feel right for the story at hand and Black Mirror generally. I found three endings on my first watch, looping back each time to try something else. Each was satisfying, though there is clearly an intended ending that is very much in Brooker’s vein.

You can’t even think about Bandersnatch without thinking about how it was made and delivered. And, of course, the technology is bloody amazing. Sure it watches sort of like a high-end video game. But it plays like a movie and the transitions are visually seamless. Angel Devoid tried to do this years ago, but hardware quirks and other weaknesses left it working only marginally well. Bandersnatch is the payout on the promise of branching movies, and manages to do it at scale. That achievement is pretty astounding when you think of the number of concurrent watchers, each making their own choices, and no one seeing a break in the action. There are some drawbacks to how it all works. For instance, you have to watch it on a supported device and you are forced to break the wall between you and screen by being involved. However, neither overwhelms the piece and the latter works into your watching experience interesting ways given the plot.

But, tech aside, it is an engaging and interesting story. The mystery is thick and the stakes are high from near the very beginning. There are some obvious aspects to it all, especially if you’re a Black Mirror fan, but not so many or much that it ruins the fun. The story is  highly rewatchable as well. I know there are huge chunks of info I’ve yet to unearth and I absolutely intend to go back and find them all. Once you see the movie, you’ll understand the delicious irony in that as well. I wouldn’t want a steady diet of this kind of entertainment, but an occasional, well-done piece would always be welcome.

Make time for Bandersnatch…it is history in the making, no matter how the eventual reception of it goes.

 

Welcome to Marwen

[4.5 stars]

It’s easy and obvious to go to the musicals, the comedies, and the action films over the holidays. But if you don’t make time for this most unique and wonderful of stories, you’re cheating yourself.

Welcome to Marwen is entertaining, challenging, and hopeful. And a lot of the reason for that success is Steve Carell (Battle of the Sexes), who continues to prove his mettle as a serious actor. In this incarnation he is as vulnerable and powerful as ever; his performance will rip out your heart and hand it back to you reinforced.

Along with Carell are several women, some of whom barely, if ever, show up as anything other than dolls. Merritt Wever (Nurse Jackie) and Leslie Mann (Rio 2) are chief among those in his real life that need be mentioned. Both have engaging stories of their own that intersect with Carell’s Hogancamp, but it is their way of dealing with him that makes them stand out. Though Gwendoline Christie (The Darkest Minds) has a wonderful cameo that really pops as well.

The rest of the cast, particularly those that appear mostly or only as dolls are good, but they are very much there to move the plot along more than anything else. Even Diane Kruger’s (In the Fade) Deja is more impetus than real. That doesn’t diminish the work of any of the men or women, such as Janelle Monáe (Moonlight), it simply acknowledges where they live in the story.

Robert Zemeckis (The Walk) has finally found the perfect story for his motion capture tech. The odd flatness of the rendering is perfect for dolls. The effect feeds into the experience rather than fighting it as has often been the case in his previous movies like Polar Express or Beowulf. The story itself is also a nice match for his emotional sensibility. Zemeckis unfolds the story at its own pace, bringing us to a cathartic and bittersweet end that is both unavoidable and wonderful. The fact that it is also a true story only makes it more magical and inspiring.

The only reason I couldn’t give this 5 stars was that there are some dropped threads in the otherwise brilliant script. It takes it just a tad off perfect, but doesn’t diminish the story. This isn’t like anything else you’re likely to see this season, or any season. Make time for Marwen. Let it open your mind and your heart.

The Wife

[5 stars]

It is rare to find a near-perfect movie, from the acting to the writing to the directing. The Wife is in that category and you need to see it.

First and foremost, it is brilliantly acted by Glenn Close (Crooked House). Close dominates this film but for a single scene where, by design, Elizabeth McGovern (The Commuter) takes over. Jonathan Pryce (Breaking Glass, Game of Thrones) manages the tricky job of being at the center of the on-screen action, but ceding the focus to Closes’s title character. All around the couple are a host of well cast supporting players. Even the petulant portrayal of the son by Max Irons (Terminal) slots in wonderfully.

And while the performance alone are worth taking the time to see The Wife, that is only part of its worth and power.

Björn  Runge directed this drama wonderfully. He reminds us of what an art form the media really is. For, while Jane Anderson’s (Olive Kitteridge) script is very natural, believable, and subtle, it is Björn Runge’s direction  and choices that make it work. While the dialogue unrolls on screen, it is the small looks, the action in the background, and the slowly building tension that drive the tale, rarely the words themselves. This is a movie of almost pure subtext, delivered through visual cues and great acting. I do, however, give Anderson credit for her adaptation of a book that must have been loaded with internal dialogue and making that work on screen.

And then there is the ephemeral aspect of timing of this move that helps set it apart. Not to confuse things, this film would have been good at any time it was released. However, the themes are also pitch-perfect for the current times in ways that would have been hard to predict and which resonate in wonderful and uncomfortable ways.

Make time for The Wife so you know why you’re going to hear so much about it during awards season. Close is brilliant, a study in subtlety and determination. The movie gripping and inexorable. The results powerful. It approaches cinematic perfection in terms of craft and will leave you breathless through its inexorable and accelerating pace that picks you up and carries you along to the final punch. Now, forget all the hyperbole and just go let it do its thing on screen for you while it is out there to see.